Notes:

Intoxication is verdant with color upon color, and the musical
instrument is overflowing with melody. That is, intoxication is so pervaded
with melody, and melody with intoxication, that the wineglass is a cypress
of the bank of a convergent stream of melody. The simile
of a cypress for a wineglass is old, and the river/flood for melody is new
and captivating. (239)

He says, intoxication has become verdant with color upon
color, and the musical instrument is seen to be overflowing with melody. That
is, intoxication is so pervaded with melody, and melody with intoxication,
that the wineglass is a cypress of the bank of a convergent stream of melody.
(298)

That is, if the pleasure of intoxication increases with
melody, and the pleasure of melody increases with intoxication, then it's
as if the verdant glass of wine is a cypress on the bank of the water-channel
of melody (cypresses on the banks of water-channels are extremely verdant).
In short, intoxication is a good thing and melody too, but their pleasure
increases even more when both would accompany each other. (429)

FWP:

A term like 'intoxications' belongs with the group of other
pluralized abstractions; for other examples, see {1,2}.

This is a remarkably powerful verse of mood;
its imagery is so luxuriant, and its general effect so voluptuous, that it
actually itself feels intoxicated. It is celebratory but also languid, admiring
but also enjoying. The verse itself seems to sway a little as it is recited.
A word like juu))ibaar , with its rich and verdant meanings,
is a perfect center for it, and its banks are just where a wineglass-cypress
would most luxuriantly grow.